[Pete Burger]

Phil, good points! Any new camera will have to compete with existing cameras – or to be more precise – with the “look of the footage”.

The VDSLR revolution IMHO was mainly based on the possibility to produce almost film-like looking footage at bargain prices more or less out-of-the-camera plus the accessibility of a ton of different gear especially lenses.
And as we all know, glass and sensor-size are more or less the single most important aspects in a camera.

So a camera with great tech-specs that produces footage which is more flexible in post at a significantly higher price range and the necessity to get bunch of new gear will hold back many people. In particular if they have invested in other technology before.

Neveretheless a very interesting product. I’m anxious to see more. And I’d love to get my hands on a RAW-video-camcorder…

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

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[Pete Burger]

I’d guess it’s the card. You wrote, you got the card with your 7D a couple of years ago. Cards don’t get better with time.
Had a similar problem with my SDHC cards for my 550D. Sometimes reformattng the card instead of erasing the content helps. If you just erase clips or photos the card gets fragmented (at least that’s what I was told) – formatting the card with the camera seems to be the better and “healthier” solution.

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
https://twitter.com/FastFoodVideo

My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

What framerate and shutterspeed were you working with?
Seems to me like the frequency of lights (or rather the electrical power) in the Pantheon and the cat place and your framerate/shutterspeed didn’t match.
The lights should have had 50Hz, since it’s Italy, and if you were shooting with 60fps or a shutterspeed other than a multiple of 50, those effects occur.

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
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My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

Glad, I helped!

[Teresa Seito] ” I was just curious if there was some magic switch that took the luma information from the color channels and then converted that info into an appropriate grayscale transparency that could rest in the alpha channel, and then be used for other purposes”

There are a couple of ways to do just that. Simplest way to use the luminance information as an alpha channel, is to apply one of the channel effects (don’t know the english name, must be something like “change channels”… something like that…)
You can simply choose the luminance information as an alpha channel.

Another way is to duplicate the layer, add a b/w effect (tint, b/w, hue/saturation, …) to the duplicate and use that layer as an obscure matte (inverted luma matte) for the original layer. IMHO the better way, because you can tweak the matte to your liking with levels, curves or whatever…

I’m sure there are still about a hundred other ways to achieve the same (or better?) results.

All the best!

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
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[Pete Burger]

Not quite sure what you mean. Maybe I misunderstood.

When importing any footage that has no alpha information natively, AE “adds” opaque alpha-information.
There are several ways to add your own alpha information to the footage. Masks are just one of them. To then bake the alpha information into the footage, you’ll have to render it out to a format that supports alpha channels – like Quicktime (codecs could be Animation, PNG, …). In the render settings you’d have to tell AE to put the alpha information in (RGB + alpha).

Was that your question? 🙂

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
https://twitter.com/FastFoodVideo

My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

Yup, I’d also say it’s moiré. Typical for areas like that (the high contrasty wrinkles)…

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
https://twitter.com/FastFoodVideo

My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

No, it’s not necessary to apply the LUT and no, it doesn’t do anything you can’t do with your favourite grading tool.
The LUT is – simply speaking – just a curves effect. It’s kind of a suggestion the makers of the cinestyle profile make how the final graded footage could look like. And it’s an easy way to make a “fast grade”. Just apply the LUT and *boom*… Useful for showing footage to your clients without too much fussing around with a three-way-corrector.

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
https://twitter.com/FastFoodVideo

My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

You could use “Color Finesse” which ships with After Effects.

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

Me on Twitter (english/german)
https://twitter.com/FastFoodVideo

My german blog
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

[Casey Petersen] “Does the “ISO 160 rule” also apply to still photography, or is it just for video?”

Hey, Casey! Yeah, it applies to stills as well. It’s how the hardware/software of the Canons work. It seems they have a “native” ISO of about 160, so all other ISOs are “pushed” or “pulled”

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

https://twitter.com/FastFoodVideo
https://fastfoodvideo.de

Posts by FastFoodVideo

[Pete Burger]

As Jorden wrote, a fast lens and a camera light are always a good choice. In addition, I’d suggest the “ISO 160 rule”:

With all Canon DSLRs I know, ISOs with multiples of 160 (160, 320, 480, 640…) are much cleaner and have noticebly less noise than the others. So try using them. Should be possible natively with the 60D. If not, Magic Lantern will help. With my T2i ISO 640 is even cleaner than 400…

——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keaton

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